The Sound Post » Colin Oettle

Speculators Say Philly Forecast Dim

Colin Oettle — Thu, 09 Jun 2011 14:30:04 +0000

Mark Schwartz is a lawyer who believes The Philadelphia Orchestra’s “plodding” bankruptcy court proceedings don’t bode well for the organization. In an article for philly.com, he compares the orchestra’s situation to that of the Barnes Foundation—a case in which he blames a misguided board of directors for prematurely forcing its organization into court. Barnes is an educational art and horticultural institution that sought court approval to move from a suburb of Philadelphia to a more city-accessible site under the pretense of financial hardship. The move would directly violate the organization’s “indenture of trust,” which stipulates its art holdings are not to be relocated.

Schwartz’s criticism is that Barnes claimed an inability to raise $1.5 million for annual costs, but mustered $150 million once the relocation of the gallery was approved. Fearing the Philly Orchestra may be guilty of something similar, Schwartz points out that bankruptcy court is not somewhere organizations should seek to be. Short of a quick in-and-out to “shed obligations and return to business,” prolonged litigation could threaten the orchestra’s stability as well as its reputation. Players are rumored to be coursing the job market for more stable positions, and subscribers share in the frustration of their orchestra’s turmoil. Who is really benefiting when a near-bankrupt orchestra spends hundreds of thousands on legal fees?

Peter Dobrin, Inquirer Music Critic, outlines the issue in black and white. The administration claims the orchestra cannot afford its current financial obligations, which include commitments to the musicians, their pensions, and the Kimmel Center. The board then filed for chapter 11 protection in an attempt to eliminate these obligations, despite holding $140 million in endowments. The court will decide whether any or all of that money can be used to pay off the obligations, or if being “donor-restricted” truly puts the money off limits as the board argues.

Meanwhile, the musicians who make up the world-class orchestra feel scorned. Cellist John Koen wrote an op-ed detailing the players’ contempt for the board’s bankruptcy filing. He says that the players are not responsible for marketing or fundraising—though they help with both—and that they should not suffer for the unaffordable leases signed by the board. Given the high costs associated with the filing, orchestra members wonder if the board isn’t simply attempting to abdicate from contractual obligations it doesn’t like—including pensions. Either way, a looming question still remains, and that is whether the move will cost the orchestra more in its tarnished reputation than it will save in dollars.

See also:
For the Orchestra, Bankruptcy Symphony is a Downer, by Mark D. Shwartz
Bankruptcy Court hears opening statements on Philadelphia Orchestra’s Chapter 11 petition, by Peter Dobrin
Can bankruptcy fix orchestra? No: It damages its reputation, by John Koen

New Staff!

Colin Oettle — Thu, 19 May 2011 03:15:34 +0000

Please welcome our newest writer, Jake DeBacher. Jake is a composer hailing from the Midwest who will be providing The Sound Post with an insider’s view on contemporary music and the people who write it. We look forward to reading more of his work!

Open Goldberg Variations: Bach for Everyone

Colin Oettle — Wed, 18 May 2011 15:00:07 +0000

In what will hopefully become a trend in the industry, a team of musicians has recently undertaken a project to create a new, free edition of Bach’s Goldberg Variations. The project, called Open Goldberg Variations, hopes to make Bach’s masterwork available to the public by releasing both a score and recording in the public domain—that is, without copyright. The name “Open Goldberg Variations” comes from the “open source” ideology of the tech world. Just as open-source software makes the code for its programs available to the public, Open Goldberg Variations plans to create an edition of the Goldbergs that will be available for anyone to download, view, or edit without the copyright restrictions enforced by conventional publishers.

While creating a copyright-free release of both a score and recording is already exciting, the philosophy behind the project encompasses a bigger issue than simply “free Bach.” It represents a movement away from expensive, designer editions of works which amateur, or even some professional musicians, might be less inclined to purchase. This could potentially curb the frequently discouraging discovery that a desired work is either scarce, unaffordable, or both. However, like many benevolent efforts, the project must first raise enough funds to pay expenses prior to the release.

Open Goldberg Variations has been campaigning primarily on Kickstarter.com—a website dedicated to helping creative projects acquire funding. The campaign has 15 days remaining, and while it has already met its goal, further donations will ensure the project not only succeeds but continues to inspire similar efforts within the musical world. And, if you need some inspiration, there are rewards for pledges at all levels. While $25 will earn you a complimentary CD of the recording, a $300 pledge allows you to claim a dedication for one of the variations.

The project’s own website, www.opengoldbergvariations.org, contains detailed information about the project and its partners. Spearheading the project are Executive Director Robert Douglass and German pianist Kimiko Ishizaka, who will record the piece. The pair have partnered with MuseScore, an open-source music notation software, as well as other giants in the online music world such as IMSLP. The collaboration will hopefully lead to a more open community for both recordings and sheet music. As described on opengoldbergvariations.org:

It's really hard to find truly good scores and recordings of the Goldbergs that are just free; free to download, listen to, perform, share, arrange, or mash up. And almost none of them are gratis. The Open Goldberg Project is solving this problem, at least in the case of the Goldberg Variations, while exploring the intersection between open source software, public domain, crowd sourced funding, and emergent web technologies for music. The primary goal of the project is to create a new edition of the score of the Goldbergs, as well as a new studio recording, played on the piano by Kimiko Ishizaka. Both the score and the recording will use the Creative Commons Zero tool to place them into the public domain, assuring that they'll both be free (gratis and libre) forevermore.

Philadelphia Orchestra Files for Bankruptcy

Colin Oettle — Fri, 22 Apr 2011 22:05:49 +0000

The 111 year old Philadelphia Orchestra became the first world-class orchestra to file for bankruptcy amid the financial morass currently plaguing American orchestras. However, unlike the Syracuse Symphony, the Philadelphia Orchestra did not cancel any performances or order an organization-wide shutdown. The season will continue as planned, but the future of the organization will depend on the proceedings in bankruptcy court.

While the move was expected, many feel it was unnecessary. The orchestra has assets, including an endowment, that total $140 million—three times its current liabilities. Management views the endowment as donor-restricted and therefore unusable, which means the orchestra is currently operating with a deficit. An emergency fundraising campaign is projected to reduce the $13 million budget gap to around $5 million, but the board is hoping to shed millions in liabilities during bankruptcy proceedings.

Only the 5 musicians sitting on the 75 member board voted against the measure despite campaigns by the players to reject the move. Orchestra members handed out leaflets encouraging members to vote “no,” even protesting the meeting with a “play in”—that is, a string quartet serenaded the board members as they gathered to vote. The financial restructuring of the organization could mean less pension funding for orchestra members.

Many people blame poor management for the move, saying that ennui replaced the necessary dedication to raise funds—that expanding the donor pool and reaching out to the community were viable methods of closing the budget gap that were not pursued. Either way, the group is now at the mercy of the bankruptcy court which may decide to dismiss the case if they feel the orchestra has too many assets to warrant the chapter 11 filing.

While players and audience members remain optimistic for the future of the orchestra, they fear the financial crisis will hinder its quality. Cultivated through a rich history of strong leadership and solid players, the orchestra faces a threat that might force musicians to consider taking other auditions. After time without a permanent executive director, music director, or board chair, it is easy to wonder whether it is the economy or simple stagnancy that is to blame for the ensemble’s suffering.

See also:
Philadelphia Orchestra’s board votes to file for bankruptcy
by Peter Dobrin via Philadelphia Inquirer
Philadelphia Orchestra To Seek Bankruptcy Protection
by The Associated Press via NPR
Philadelphia Orchestra Makes Bankruptcy Move
by Daniel J. Wakin and Floyd Norris via New York Times
Board of Philadelphia Orchestra Votes to File for Bankruptcy
by Daniel J. Wakin via New York Times

Detroit Symphony Returns to Stage

Colin Oettle — Tue, 19 Apr 2011 18:45:56 +0000

The Detroit Symphony has returned to the stage after six long months of contract negotiation. It marked the achievement with a weekend of free concerts led by music director Leonard Slatkin, featuring symbolic works such as Dvorak’s New World Symphony and Barber’s Adagio for Strings.

While the return of a major American orchestra is decidedly joyous, there were reminders of the struggles the organization faced during the 26 weeks musicians were on strike. Some players did not return to their posts, including the entire percussion section.

In lieu of the 67 concerts that Detroit was forced to cancel, many players took on solo engagements and substituted with other major orchestras. But with the new contract in place, the orchestra should be able to salvage the final three months of its season. It has already engaged several soloists and guest conductors, and public support has been stronger than ever. The first weekend back sold out in 48 hours, granted the tickets were free.

The organization will have to stay diligent, as they must find a way to allay the $3 million projected annual deficit. But if Detroit can maintain its momentum from this return and harness the supportive response from the public, the DSO will surely continue to be one of the country’s top ensembles.

See also:
With Strike Over, Detroit Symphony Looks to Mend Fences, Brian Wise via WQXR
Team DSO comes home, and the crowd goes wild, Lawrence B. Johnson via The Detroit News

Schumanns Set to Save Classical Music

Colin Oettle — Thu, 14 Apr 2011 16:59:08 +0000

Pianists Elizabeth and Sonya Schumann are spearheading a project that will bring engaging musical experiences to children. The project is based at kickstarter.com, a web platform for funding creative projects.

The sisters believe exposing children to high quality classical performances in a relatable context will create a new generation of classical music lovers. So, they created a children’s CD by carefully pairing short works with an exciting narrative about a girl who adventures overnight in a zoo. Their contribution to music education could simultaneously combat declining classical audiences and enrich the lives of a new generation. Watch the video for a more in depth explanation of the project!

Take a look at their project homepage for a complete rundown. They could use your support!

Whitacre’s Virtual Choir of 2052 Voices Performs “Sleep”

Colin Oettle — Wed, 13 Apr 2011 02:02:08 +0000

A year and a half after Eric Whitacre created a recording of “Lux Aurumque” from videos uploaded to YouTube by 52 separate singers, he and his team set out to create a more massive virtual performance of his work “Sleep.”

Whitacre gave a TED talk in March explaining his vision for these projects, which began when a young woman posted herself singing the soprano line to one of his pieces on YouTube. He posted a video of him conducting Lux Aurumque and invited submissions for the collaboration.

52 uploads later, he created a virtual choir by syncing all the audio tracks together for a unique choral performance. This second effort, however, dwarfs the first project by incorporating the audio and video tracks of 2052 different singers. Read on for the video.

YouTube performance of “Sleep” by Virtual Choir 2.0

Eric Whitacre’s TED talk about the Virtual Choir project.

Syracuse Symphony Closes Doors

Colin Oettle — Tue, 05 Apr 2011 13:18:12 +0000

The Syracuse Symphony Orchestra was forced to shut down in the middle of its 50th season when the Board of Trustees voted to suspend operations on March 29. Citing a $5.5 million deficit and an inability to reach an agreement between the board and the musicians, the organization was forced to cancel all remaining concerts without refunding ticketholders.

The Syracuse Symphony website contains only the image above as a testament to what would have been its 50th season. It is followed simply by an explanation of the orchestra’s plan to suspend operations and layoff both its staff and musicians. Perhaps the most hard hitting line of the paragraph is the declaration that all remaining concerts are canceled, which reads “All concerts have been cancelled for the remainder of this season, including the Yo-Yo Ma concert scheduled for April 27. The SSO is unable to issue refunds for tickets because we have run out of money.”

Along with the disappearance of one of Syracuse’s prominent arts organizations, the operational shut down also means the Syracuse Symphony Youth Orchestra will no longer be allowed to operate. What was once an opportunity for young musicians to participate in an elite group will become merely a fond memory. The one remaining concert has been canceled, negating weeks of preparation on behalf of the students. The group’s 30 seniors particularly lament that they won’t be able to play their ceremonial final concert.

The shutdown of the SSO is a great loss not only for central New York, but for the nationwide arts community. While the Syracuse Symphony explores its options for the future, musical organizations around the country should embrace their ability to make music as one city no longer can.

Editor’s Note: The Sound Post covered the SSO back in August. See the pre-shutdown article here.

Related links:
syracuse.com: SSO Board Votes to Suspend Operations”
syracuse.com: Symphony’s Collateral Damage
Syracuse Symphony

Robert Spano Named Music Director of Aspen

Colin Oettle — Fri, 01 Apr 2011 20:23:12 +0000

The Aspen Music Festival and School has named Robert Spano its next Music Director, stating that he will assume duties as “music director-designate” effective immediately and take on the full role of music director in 2012.

In addition, Spano will become co-director of the American Academy of Conducting at Aspen, taking on the director position as of 2012. In 63 years of Aspen Music Festival and School, Spano will be only its fourth long term director.

President and CEO Alan Fletcher said AMFS was “looking for someone with a vision, not just for Aspen, but more broadly for classical music.” With a decade at the Atlanta Symphony Orchestra under his belt, Spano won the votes of Aspen’s search committee through his dedication not only to music but also education.

Spano will lead four concerts this summer with repertoire including Richard Strauss’ “Don Quixote,” Rachmaninoff’s Piano Concerto No. 2 with Vladimir Feltsman, Ravel’s Piano Concerto in G major with Jean-Yves Thibaudet, Mahler’s Symphony No. 5, and the Barber Violin Concerto with Robert McDuffie. The final concert of the summer 2011 season will feature Mahler’s Symphony No. 2, “Resurrection,” with vocalists Isabel Bayrakdarian and Sasha Cooke.

Read the full press release from Aspen detailing its outlook on a new era. They also included a fact sheet.

University of Michigan to Stream Performance of Mahler 6

Colin Oettle — Mon, 28 Mar 2011 20:23:19 +0000

Conductor Kenneth Kiesler will lead the combined University of Michigan Symphony and Philharmonia Orchestras in a live broadcast of Mahler’s Symphony No. 6 at 8:00pm EST on Tuesday, March 29th.

The program will be broadcast at www.classicalmusicbroadcast.com with both audio and video. Online producer and director Kelly Rinne said “Our goal is to bring the masterful musicality of such exciting performances to a global audience.” Through this effort, the University of Michigan joins other major organizations in opening the door to larger audiences via the Internet.

The Berlin Philharmonic regularly streams its performances and offers an archive accessible by purchasing digital “tickets.” But unlike Berlin, the University of Michigan will not only broadcast the event free of charge but also offer local concertgoers free admission.

Kiesler commented on Mahler’s 6th saying “The Mahler 6th is played a bit less often than many of the other Mahler symphonies. It shows new developments in the composer’s use of the orchestral color and is a musically and technically demanding piece that requires a skillful and mature orchestra.”

The performance will be viewable here at 8:00pm Eastern, Tuesday, March 29. An archive of the performance will also be accessible for 48 hours afterward.

See the university press release here.